Camera and Lighting Techniques in The Maltese Falcon

The Maltese Falcon, a famous member of the film noir genre, places heavy emphasis on lighting and camera techniques, especially for the era in which it was made. (The film was released in 1941.) One of the most notable elements in the movie’s visual vocabulary is the extensive use of shadows to generate atmosphere. As with most noir films, Falcon features a labyrinthine plot full of twists, turns, and underworld dealings. Sam Spade, private detective, takes on a case that him dealing with a backstabbing love interest and three crooked characters searching for a priceless artifact. To accentuate the shady dealings in the film, director John Huston uses low-key lighting in many scenes. Outdoor sequences in particular mainly take place during the night so that light from streetlamp are made to appear to be the only light sources. Much of the time, fill lights on characters faces are either weak or not present to add to the dramatic ambiance of the film.

The camera itself is major player in the film, working hand-in-hand with lighting to create mood. To add intensity to scenes with little kinetic action, the film will cut to a close up of a character’s face. For example, when Wilmer Cook discovers that the other characters have chosen him as the “fall guy” for the murders in the movie, we’re presented with a tightly framed close-up of Cook’s expression. A similar technique is used to showcase the Maltese Falcon as it is unwrapped. The film also features low-angle shots to build suspense or make an object or person seem imposing. We see low-angle shots being used prominently in a conversation between Spade and the “Fat Man.” The camera in this instance is aimed up towards the sitting Fat Man to lend an air of authority to his massive figure. In this scene, a wide angle lens is used with a deep depth of field to both capture the full figure of the Fat Man and induce a feeling of claustrophobia by bringing the ceiling into focus. Through shots such as this, Huston keeps tension high in The Maltese Falcon.

Museum of the Moving Image Assignment

As a fan of anything that screws with my perceptual abilities, the Museum of the Moving Image was quite a treat. The installation I was most drawn to was a demo where the museum-goer could create their own stop motion animation video. For the un-initiated, stop-motion animation involves photographing the action one small movement at a time. The photographed frames are then strung together in a sequence that creates the illusion of continuous motion.

In the demo, a user has a designated area that they can photograph with a camera above. By pressing a button after moving objects in front of the camera step-by-step, they gradually create a series of frames that the computer creates a movie from. For my movie, I had a friend hit the button while I drew a character on a piece of paper, drawing a new part for each frame. Thus, an illusion was created where my sketch “drew itself.” I learned that I could make the “motion” choppier – and, in my opinion, more visually interesting – by asking my friend to press the button twice for each frame. Having him press it three times increased this effect, while a single photograph per frame made the motion much more fluid and realistic-looking.